segregation/integration in the NYC jazz scene

[Gerald Cohen]

   This is a bit off-topic, but here goes.

    I've heard several times on Ken Burns' "Jazz" series that there
was strict segregation in the NYC jazz scene of the 1920's and '30's.
There certainly was segregation, but Burns evidently overlooked Benny
Goodman's interesting way of getting around it.

     The reference is Henry Anton Steig,"Profiles: Alligators' Idol"
(on Benny Goodman). _ New Yorker_, April 17, 1937, pp.27-34. (I
mention this in my 1991 book _Origin of New York City's Nickname,
"The Big Apple"_, p.95; the book, btw, does not yet contain Barry
Popik's valuable research). Page 27 of Steig's article begins:

    "Benny considers the colored outfits of Count Basie and Chick Webb
'real swing bands,' which is the greatest compliment he can pay.  He
has a high regard for colored musicians in general.  They are better
natural swingmen than whites, and Benny would like his own to be a
mixed one."

    The article continues:

    "The managers of most hotels and dance halls won't stand for a
mixed band, however, and Benny gets around this rather neatly.  His
official band--the men you see when the program starts--is all white,
but the swing quartet, which plays special numbers and which has
overshadowed the band in popularity, is half colored.  The colored
pianist, Teddy Wilson, and the colored vibraphone player
Lionel Hampton, just step onto the platform when they are ready to
play in the band, and there have been no complaints.  Benny with his
clarinet, and Gene Krupa with his drums, are two other members of the
group."

    I don't have Steig's article in front of me, but if I remember
right, the band's final number would be played by only the white
musicians. So, as long as the beginning and end of the program were
played by whites, the middle of the program could be integrated
without producing any problems.

---Gerald Cohen